English translation

We spoke with the youngest photographer selected by Taschen for the New Erotic Photography: Rebecca Tillett. American, little more than thirty years old and working with Mondo Bizzarro Gallery in conjunction with Fluffer Magazine. Her pictures are original, surreal, erotic, exotic.

Rebecca Tillett’s women are free and seductive, often with melancholy in their eyes. Are they a mirror of your personality or is melancholia just an atmosphere/mood you like to represent? "I think it's probably a bit of both. I tend to feel most creative when I'm feeling melancholy so I typically convey that emotion more so than any other even though it's sometimes unintentional. When it's purposeful, it's because I've always more vividly seen the beauty in the darkness than in light. And as I age, I more freely embrace that fact about myself."

Your interior became a charming distinctive feature of your pictures. Models are nude in the kitchen, over the moquette, in the living room and in the bathroom dressed only with flashing accessories and lipstick: an ironical mix between eroticism and simplicity. What is the intention behind this representation of contemporary allure? "I love hearing what other beings see in my photographs because often they bring something to my attention that I never before realized. This is one of those instances. With that said, perhaps there isn't always clear intention there. Or maybe there is but I don't realize it. I'll tell you what I know: When I put a model in heels and lipstick I'm both demonstrating an irresistible society-deemed sexiness; undebatable symbols of American feminism that have existed for many years over - red moist plump lips ready to devour you, beautiful heels that elongate the legs (I also utilize a wide-angle lens to further lengthen my model's legs), sexy undergarments or perhaps none at all, a flash of beautiful breasts and perky nipples as well as demonstrating the strict confines of what we consider beauty to be. And I prefer to keep it simple because as important as the setting is (typically colorful and character-filled with a sharp tinge of vintage-flavoring reiterating the fact that these norms have existed for quite a while - maybe even over-stayed their welcome), its real only function is to complement the model - all attention should be on the woman in the photograph."

I read about you on your blog and social network, and I noticed that you don’t like appearing in your pics, you declared you don’t like your image although sometimes you post a few. What do you think about beauty and what about erotic photography, in the age of selfie? "When I'm my own model it's usually due to necessity. I do it rarely when I don't have a model at my immediate disposal. On one hand, it's great because I know exactly what I want to impart in my photographs and as model AND photographer, I can do that but on the other hand, it's extremely limiting because I'm ridiculously self-conscious about so many different aspects of my appearance so I avoid photographing myself in certain poses or at certain angles because I'm so disapproving of them - so ultimately in that sense, my self-portraits differ drastically from my other work (in my opinion, anyway - that might not be immediately obvious to outsiders.)

I think beauty in the age of the selfie has transitioned to have a much more narrow definition. It's almost toxic. Digital photography and retouching software has enabled the every day user to permanently delete or edit any photographs the subject might not find immediately flattering. It's nice that we're now able to put only our best face forward but I also believe it's the opposite of humbling. Maybe we never come to terms with what we really look like anymore because we can delete representations we might not find pleasing on a whim. It's delusional and I believe, in time, it's likely to breed excessive vanity and narcissism.

Natacha Merritt really pioneered erotic photography in the age of the selfie - actually she was years ahead of her time and I often cite her as one of my primary influences. Taking the camera and turning it on herself conveyed a sexual power I hadn't before seen. It was inspiring and a style I still harken back to when I occasionally turn the camera on myself."

The line between erotic photography and fashion is becoming very thin: what is your opinion about the young contemporary photographer’s scene and this new trend? "Is this a new trend? I feel like this has been happening for at least the last ten, if not twenty years. Personally, I was picking up on a fashion and erotic correlation in the 90s with models like Kate Moss. In fact, it was 90s supermodels that propelled me into erotic photography. (Not many know that I shot my first erotic/nude set of photos IN 1999 when I was only 17.) I often cite seeing Fiona Apple's 1997 Criminal music video as the lightbulb moment for me, that "A-ha! That's exactly what I want to do!" moment. The video feels dirty, definitely sexual despite being clothed, vintage-themed and the wardrobe plays a large part in that. Before shooting a new model, I've actually been known to have shown them that video in the hopes that they'll better understand where I'm coming from in my direction."

Have you ever thought about a project with male models? "I've considered it but never too seriously. For reasons that are probably too psychological for me to understand or delve into here, the male body doesn't do for me what the female body does. I'm sexually attracted to both sexes but aesthetically? My passion lies purely in the feminine realm. The female body really is a work of art. I've always seen the male physique as a tool and that's it. I wouldn't be opposed to a project with both a male and female but I'm not yet at the point that the male body alone inspires me. Could happen in the future though, you never know how your own tastes and preferences will shift."

After a period as a freelance, you returned to a traditional job. Is the choice of working and living as an artist, a privilege even in the USA? "Oh, living and working off your art alone in the States is a definite privilege and unfortunate rarity. I was only able to walk away from the traditional 9-5 grind and attempt the freelance thing because my husband was making good enough money to support us both and I had his blessing. That was an opportunity not many people can say they've had but I don't feel like I took full advantage of it as I found it hard to stay motivated. It's almost as if I'm not struggling to make a living I have a hard time forcing myself out of bed in the morning. It's always been really sad and frustrating to me how elusive my creativity can be. And to make matters worse, I've received conflicting advice on the topic over the years: some insist you should force it and in doing so, it'll come while others swear by waiting patiently for it to appear. I've attempted both and haven't found absolute success in either method.

Anyway, back to the original point: I left my husband last Fall in pursuit of a happiness I'm still not certain exists. It was the scariest move I've ever made but it's been empowering and eye-opening. Doing so, also meant I had to give up the dream of living off my art and once again, find a regular job to pay the bills. So now, I'm battling a different beast: attempting to stay inspired enough to want to shoot and pursue my own creativity in the photography realm in my off-hours when I spend 45 hours a week working as graphic designer. It's hard not to let work suck every last ounce of creativity from me."

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